GET THE LOOK:
COURREGES Wrap-effect Asymmetric Satin Mini Skirt
Alaïa Leather-trimmed Suede Ballet Flats
SAINT LAURENT Gold-tone Resin Clip Earrings
Fashion
Silhouette. The Row Pre-Fall 2026
The Row has achieved a rare level of distinctiveness shared only by designers like Yohji Yamamoto and Giorgio Armani: you don’t need to see the full collection – just the silhouettes from afar – to know it’s theirs. Mary-Kate and Ashley Olsen maintained their signature no-photos policy at their intimate Paris presentation, and the images released for the pre-fall 2026 collection are neither lookbook nor editorial. They are supremely elegant black-and-white portraits of the models (and their comb-adorned hair) and the garments, photographed in the traditional, old-school couture way: front, side, back.
The collection features sublime sack dresses (which make Pierpaolo Piccioli’s attempts at Balenciaga look even more unfortunate), an absolutely heavenly full skirt with a beautifully cinched waist, airy balloon pants that convey sophistication rather than laziness, and a handful of crisp cotton shirts, probably meticulously studied on Charvet.
Once again, the photos reveal little – you can’t fully appreciate the subtle embroideries or sequin work – but they show silhouettes that unmistakably speak one name: The Row.
ED’s SELECTION:
The Row Lucja Oversized Belted Shearling Coat
The Row Violetta Asymmetric Paneled Silk-crepe Gown
The Row Idro Oversized Cotton-blend Corduroy Shirt
The Row Irene Lace-trimmed Silk-charmeuse Skirt
Collage by Edward Kanarecki.
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What’s Hot (15.10.25)
Exaggerated Body. Jean Paul Gaultier SS26
Duran Lantink’s debut for Jean Paul Gaultier is a collection I’m still making up my mind about. For me, the core of the Gaultier brand has been utterly diffused by the revolving door of guest designers, each coming in for a single couture collection every six months. At this point, the brand could be almost anything.
On one hand, I think it was a wise choice for Duran not to revive Jean Paul’s archives too literally. On the other, this collection revealed that his own repertoire still feels somewhat limited. It could just as easily have been a Duran Lantink show – and honestly, it might have made more sense that way. The razor-sharp cut-outs, the “Lumps and Bumps”-inspired silhouette manipulations, the op-art stripes, the bodysuits printed with a haired male corpse – it’s all Duran through and through, like it or not. But we’ve already seen most of these ideas play out, in slightly different variations, within his own brand. READ MY FULL REVIEW HERE.
Collage by Edward Kanarecki.
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Quirky. Chloé SS26
Although Chemena Kamali drew inspiration from Gaby Aghion’s (Chloé’s founder) archives from the 1950s and ’60s, she managed to reinterpret the mini dresses with bubbly, couture-like shapes in a contemporary, quirky-but-chic way. At first, I wasn’t sure about the fullness of some of the floral bows and drapes – often rendered in acidic colourways and styled with contrasting leggings – but there’s something undeniably fascinating about the oddness of this silhouette. I’m also obsessed with the distinctly 1980s make-up moment: the flashy, bold pink lipstick that creates a cool tension against the “safe” beiges of the shoulder-padded trench coats. Add to that the PVC sandals and Vanessa Beecroft’s photographic lens at the show, and you get a fresh, not so obvious vision of the Chloé-by-Chemena girl – less lace-y and Sienna Miller-esque than before.
ED’s SELECTION:
Chloé Paddington Embellished Leather Tote
Chloé Gathered Cotton-dupioni Jacket
Chloé Floral-brocade Mini Skirt
Chloé Misty Laser-cut Leather Ballet Flats
Chloé High-rise Wide-leg Jeans
Collage by Edward Kanarecki.
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Design & Culture by Ed 